Originally Posted by king mark
I also found I could match the "Standard" and "Movie" modes:
ALL other settings equal (warm2 etc...) , It seems there is about a 15 point Color difference
Standard Mode Color 40= Movie Mode Color 56 , looking pretty identical .At default 50 Standard is over saturated and Movie undersaturated
Color Space= Native boosts mostly blues without affecting other colors much like flesh tones (you can see really well in Oceans documentaries on Discovery Channel or the PS3 interface is set to blue) . If you don't want to mess with "custom" Color Space ,it offsets the pale skies of warm2 but still leaves the whites a bit yellowish
So my best "simple calibration" without messing with stuff I'm not too sure about would be:
Movie (or Standard)
Color 56 (Movie Mode) or 40 (Standard Mode)
Color Space :Native
Turn off processing crap (Dynamic Contrast, Edge Enhancement...)
Put Brightness and Gamma to have shadow detail like you want (for me 50/Gamma+1)
No messing with white balance, 10p white balance or custom color space
The color control only plays a small part in adjusting saturation. From Tom Huffman ---Why can't I fix oversaturated colors by simply turning down the main Color control?
This issue comes up often in the context of popular displays that exhibit a strongly oversaturated gamut. The JVC RS1/2/10/15 front projectors are perhaps the best example.
Lacking a full-featured CMS, one is tempted to try to alleviate the problem by simply turning down the main Color control. Turning it down slightly may help somewhat, but anything more than a very small adjustment is likely to make the color worse rather than better. Why? The reason has to do with the fact that, contrary to popular belief, color controls are not engineered to adjust saturation. They are Chroma gain controls. Turn the color up, you increase the chroma of the signal. Turn the Color down, and you decrease the chroma. Although related, chroma and saturation are not the same.
Perhaps the best way to think of the difference is this: Imagine a red patch of color illuminated under a strong, bright light and then imagine the same patch seen under a dim light. As you change the lighting conditions, the red appears more or less colorful. This is chroma. However, the saturation of the color does not change even as its brightness changes dramatically. It will not plot differently on the CIE chart, despite the fact that it is less colorful and significantly dimmer.
Interestingly, the reverse is not true. If you lower the saturation of red, the chroma decreases to approximately the same degree. A less saturated red seems proportionally less colorful, but a less colorful red is not necessarily proportionally less saturated. Consider the two examples below.Example 1: Chroma changeExample 2: Saturation change
The first example mimics the effect of turning down the main Color control. If you turned the Color control all the way down to zero, the the patch would finally lose all of its colorfulness (and saturation) and retain only some residual brightness, appearing as a shade of gray.
The second example mimics what occurs when we decrease saturation using a CMS. The brightness stays relatively constant (it may actually slightly increase), but it loses colorfulness as well.
This should make clear why turning down the main color control is not a good strategy for addressing oversaturated colors. What this does is similar to what you see in Example 1. It will reduce the saturation of the colors, but it will also significantly reduce their brightness. What we need is what is simulated in Example 2.
However, the main color control IS a good tool for adjusting color decoding problems. Unfortunately, it works equally for all of the colors, when what is generally needed is color-specific adjustment.Note:
"Chroma" is a term that has somewhat different meanings depending on the context. Those familiar with video engineering will understand chroma to refer to a rather general concept of color. Video signals contain chrominance and luminance. However, in color science "chroma" has a more specific meaning, which is "colorfulness of a area relative to a similarly illuminated area of white." Color scientists use the term "colorfulness" to refer to what video engineers refer to as chroma.